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Εκκινώντας από τα λόγια του Mark Fisher: «είναι ευκολότερο να φανταστούμε το τέ λος του κόσμου παρά το τέλος του καπιταλισμού» και νοσταλγώντας ένα παρελθόν φαινομενικά πιο απλό από το σήμερα, διερευνούμε την πορεία της ανθρωπότητας. Με μία ιστορική αναδρομή από τον άνθρωπο τροφοσυλλέκτη μέχρι τον άνθρωπο του σήμερα, η προβληματική μένει η ίδια: Πώς θα ζήσουμε μαζί; Ίσως θα ήταν δόκιμο να αναρωτηθούμε όχι το πώς, αλλά το αν τελικά μπορούμε. Το βασικό εργαλείο διερεύ νησης είναι οι νομάδες ως υποκείμενα που αντανακλούν τις αλλαγές που λαμβάνουν τόπο στην εκάστοτε εποχή. Σε μία, όχι και τόσο, γραμμική πορεία οι νομάδες καταδει κνύουν τις συγκυρίες που έφεραν τις μεγάλες αλλαγές τόσο σε πολιτισμικό όσο και σε τεχνολογικό επίπεδο. Από τους τροφοσυλλέκτες στις πρώτες μόνιμες κατοικίες, από την καλλιέργεια στην ιδιωτική γη, από την αστικοποίηση μέχρι την παγκοσμιοποίηση της κουλτούρας, ο νομάς είναι το μέσο κατανόησης των αλλαγών αυτών. Η έννοια του νομάδα καθώς και το μήνυμα που αυτός μεταφέρει, μεταβάλλονται ανάλογα την εποχή και τον τόπο. Όσο αφορά το σήμερα, στην εποχή του Ανθρωπόκαινου, με πολλά από τα χαρακτηριστικά του νομά να ταυτίζονται με αυτά του σύγχρονου ανθρώπου, το τοπίο αντανάκλασης γίνεται θολό. Είμαστε μήπως όλοι εμείς οι καθρέπτες του σήμερα; Mark Fisher’s quote: “It’s easier to imagine the end of the world than the end of capitalism.” and the nostalgia of the past, which apparently seems simpler than our current world, constitute the starting point of the project. From a historical retrospection of the human being, from the forager to the modern person, the question remains the same; “How will we live together?” It would be of great importance to wonder, not how to do it, but if we can in the first place. The main asset of this project are the nomads, as subjects that reflect the changes that constantly take place in the world. Nomads demonstrate the circumstances that resulted to those changes, through movement and mobility. From foragers to the first residences, from cultivation to privatization, from urbanization to the globalization of culture, the nomad is the tool to comprehending those transitions. Both the notion and the message that the nomad transfers, change depending on time and place. Regarding today, in the Anthropocene Epoch, many of the nomad’s characteristics identify with those of the contemporary man, making the reflection landscape cloudier than ever. Are we all mirroring the present? 60 σ.

Ο τόπος της διπλωματικής αυτής εργασίας βρίσκεται στην πόλη της Θεσσαλονίκης και, συγκεκριμένα, είναι η Περιφερειακή Τάφρος Θεσσαλονίκης, ένα αντιπλημμυρικό έργο του 1956-57. Η Τάφρος είναι μια τεχνητή διώρυγα που εκκινεί από τον Κέδρινο Λόφο (Σέιχ Σου) και καταλήγει στη θάλασσα του Θερμαϊκού Κόλπου, στην περιοχή της Καλαμαριάς, διατρέχοντας περιοχές τριών Δήμων (Θεσσαλονίκης, Πυλαίας-Χορτιάτη, Καλαμαριάς), και έχει συνολικό μήκος 8,3 χιλιόμετρα. Σχετικά με τους στόχους σχεδιασμού, γίνεται αναφορά στο ότι σήμερα -με έναν ταχύ ρυθμό- βιομηχανίες, σιδηροδρομικοί σταθμοί, στρατόπεδα κ.ά. αποδίδουν αστικά κενά, αστικά σκωριοτοπία, αποσπάσματα ενός πολύ κοντινού παρελθόντος. Πρόκειται για χώρους ικανούς να επιδεχθούν μετασχηματισμών αστικού επιπέδου. Με την εργασία, προτεί- νεται ο σχεδιασμός κάποιων παρεμβάσεων, εντός και δίπλα στην Τάφρο που θα επισημάνουν στους επισκέπτες διάφορες υπάρχουσες καταστάσεις στο τοπίο. Η λογική σχεδιασμού εκκινεί με αφορμή την παρατήρηση πως το συγκεκριμένο τοπίο υπόκειται σε μια διαρκή μεταβολή μεταξύ φύσης και πολιτισμού και, επομένως, γίνεται απόπειρα μέσω των προτάσεων να δημιουρ- γηθεί ένα υποκειμενικό «συντακτικό σχεδιασμού» για μετέπειτα παρεμβάσεις στην Τάφρο. Ο τρόπος και η κλίμακα σχεδιασμού, δίνουν έμφαση σε μια λογική που εκκινεί από το απόσπασμα, ώστε κάποτε να καταλήξει στο σύνολο. Τα αποσπάσματα συνιστούν αυτοτελείς παρεμβάσεις, επί τόπου, οι οποίες συνδέονται μεταξύ τους μέσω της εμπειρίας ενός πλάνητα της Τάφρου. Ουσιαστικά, η εργασία αποτελεί μία μετάφραση χωρικών βιωματικών εμπειριών μέσω αρχιτεκτονικών σκέψεων. Abstract The locus of this diploma thesis lies in the city of Thessaloniki and, more specifically, is Thessaloniki’s Peripheral Trench, a 1956-57 flood control project. This Trench is an artificial canal, starting from Seih Sou and ending at the Gulf of Thessaloniki, in the area of Kalamaria, running through three municipalities (Thessaloniki, Pylaia-Hortiatis, Kalamaria) and is 8,3 kilometers long. As for the design principles, today -at a fast pace- industries, railway stations, camps etc. create urban spaces - voids, urban drosscapes, pieces of a recent past. These spaces are suitable for urban transformations. The project is about some interventions, into and next to the Trench, that highlight situations that already exist in this landscape. The design logic is based on the observation that this specific landscape is subject to a constant alteration between natura and cultura and, therefore, an attempt is made to create a subjective "design syntax", which could be used for future interventions into the Trench. The method and scale of design focus on a logic that starts from a piece and sometime results as a total. The pieces constitute independent and in situ interventions that are related to each other through the experience of a flâneur at the Trench. Ultimately, the project is a translation of spatial experiences through architectural thoughts. 199 σ.

Paladino de uma complexa forma de subjetividade que é produto de uma atmosfera psicológica que o insulariza em relação aos demais habitantes das cidades, o flâneur é considerado como sendo uma importante chave de leitura dos processos de modernização dos centros urbanos europeus e de seus desdobramentos. Tendo isso em vista, o objetivo desta pesquisa se concentra, arrazoados os fenômenos sociais às produções literárias oitocentistas, no estudo do flâneur de Dostoiévski. Presente em Pobre Gente, Noites Brancas, A Senhoria, Humilhados e Ofendidos e Crime e Castigo, o flâneur dostoievskiano encerra em si os conflitos, contradições, perspectivas e possibilidades de um período tão peculiar que se incorporou à sua compleição por meio de uma nova e inquietante relação com a cidade moderna.

According to Giorgio Agamben, the Greek term for ‘habitual dwelling place,’ or ‘habit,’ is ethos. The rise to prominence in the twentieth century of the modern idea of the suburb, or ‘suburbia,’ held open the door to the potential realization of the American (and Canadian) dream ethos of universal home ownership. The tantalizing appeal of a the ideal of ‘home’ and ‘homeland’ have become key terms in the Post World War Two pursuit of a mode of ‘dwelling’ linked to consumer capitalism. Yet for Frankfurt School critics such as Theodor W. Adorno, the pursuit of this suburban ideal induced a deep sense of ennui such that to feel ‘at home’ in such a suburban environment challenged the very foundations of the dwelling place of Western civilization. “It is part of morality,” Adorno concluded in his book, Minima Moralia, “not to be at home in one’s home.” This text is an exercise in examining this question of ‘dwelling’ and ‘home’ through an allegorical poetical focus (drawn from Walter Benjamin and Charles Baudelaire) focusing on a newly completed suburb in the Canadian city of Halifax, Nova Scotia.

UIDB/00183/2020 UIDP/00183/2020 PTDC/FER-FIL/32042/2017 The book Planos de pormenor: leituras críticas sobre a experiência da cidade, whose title plays with the semantics of a fundamental mechanism of planning and normative design of the territory, aims to bring into the reflection on cities the critical perspective, equally rigorous and indispensable, of a plan of intersection between philosophical concepts and the arts. In this sense, it is a «guide» that aims to unsettle the urban steps that seem too secure. Its three parts – reread and start again, walk and transgress, experiment and imagine – bring together different, though complementary, attitudes or possible operations before a theoretical object that challenges, from the outset, its status as object. In fact, the city is not an object that can be observed from above, in a distanced way; it is rather a complex milieu, an environment full of elements and mutual relations, which requires not only a careful and detailed observation, but also to be experienced and traversed. publishersversion published

This paper aims to combine the theories on the phenomenon of the metropolis and the American urban crisis with the concept of the flâneur or the stroller, an emblem of the individualised urban experience, and apply them to Martin Scorsese’s Taxi Driver, in order to depict space as a dynamic ever-changing notion, unfairly neglected in humanities studies and narrative interpretations. The theoretical basis for the analysis of space is provided by Edward Soja’s theory on the trialectics of space, within which Thirdspace, as a lived space, combines and transcends the real and imagined space. The urbanised and industrialised city is then described as a place of indifference and ambivalence, its immensity unavoidably leading to loneliness and isolation, accompanied by the fear of hidden criminal intentions. Directed towards the city’s marginal groups and the representatives of the city’s otherness, the urban fear gradually developed into paranoia, which was especially evident during the period of the urban crisis. The analysis of Scorsese’s depiction of New York serves as a demonstration of the artistic employment of the urban crisis, as well as the example of the subjectivity of the lived reality and the perception of the city. The ambivalence which defines the urban experience has produced flânerie as a symbolical representation of the individual exploration of the city, in which the flâneur can evolve from a passive stroller into an active figure, undertaking the role of a useful member of the society or the criminal. Travis Bickle’s obsessive and psychotic strolling is reminiscent of Benjamin’s theory on the potentially aggressive flânerie and the stroller’s duality depicted by Edgar Allan Poe, while also encapsulating the ideas on the urban loneliness and the anti-urban myths. Ultimately, the spatial experience depicted on film is not only influenced by the actual spatial experience, but also possesses the ability to contribute to the mental and imaginative aspect in the construction and the practice of spatial reality. Cilj ovog rada je povezati teorije o fenomenu velegrada i američke urbane krize s konceptom flâneura ili šetača, simbolom subjektivne i individualne urbane stvarnosti, te ih primijeniti na filmu Taksist Martina Scorsesea kako bi se prostor prikazao kao dinamičan pojam, nepravedno zanemaren u humanističkim znanostima i naratologiji. Kao teorijska osnova za analizu prostora, poslužit će prostorna trijalektika Edwarda Soje, unutar koje Trećeprostor, odnosno življeni prostor, predstavlja i nadilazi spoj stvarnog i imaginarnog prostora. Urbanizirani i industrijalizirani velegrad potom se opisuje kao mjesto ravnodušnosti i ambivalentnosti, čija golemost neizbježno vodi u samoću i otuđenost popraćenu strahom od skrivenih zločinačkih namjera. Usmjeravanjem prema marginaliziranim društvenim skupinama te predstavnicima drugotnosti, urbani strah postupno je prerastao u paranoju, koja do izražaja posebice dolazi tijekom razdoblja urbane krize. Uz to što predstavlja estetizaciju urbane krize, prikaz New Yorka u filmu Martina Scorsesea primjer je subjektivnosti urbane stvarnosti i percepcije velegrada. Velegradska ambivalentnost omogućila je nastanak flâneurizma kao simboličkog prikaza individualnog iskušavanja grada, u kojem flâneur može evoluirati iz pasivnog promatrača u aktivnu ulogu korisnog člana društva ili zločinca. Opsesivna i psihotična šetnja Travisa Bicklea podudara se s Benjaminovom teorijom o potencijalno agresivnom flâneuru, čiju je podvojenost predočio i Edgar Allan Poe; a istovremeno sažima i ideje o urbanoj usamljenosti i antiurbanim mitovima. U konačnici, prostorno iskustvo prikazano na filmu ne predstavlja samo refleksiju stvarnog prostornog iskustva, već ima mogućnost doprinijeti diskursu o prostoru, a time i mentalnom i imaginarnom aspektu konstrukcije i življenja prostorne stvarnosti.

This paper analyses James Kelman’s 1994 novel How Late It Was, How Late through the prism of the crime novel and the figure of the flâneur. The novel revolves around Sammy, a Glaswegian criminal with a fondness for ‘wandering’, and who loses his sight after a violent encounter with the police. We argue that Sammy’s sight loss can be seen as emblematic of the dispossession experienced by marginalised working-class people whom the surveillance state seeks to supervise at every turn. Moreover, the novel’s peculiar third-person focalisation, in which we seem to inhabit the point of view of the protagonist without having full access to his secrets, implicates the reader in the very systems of surveillance from which Sammy is seeking to take flight. Moreover, in exploring how language is policed and dictated by the state, the novel seemed to anticipate some of the controversies attending its Booker Prize victory, especially as concerns its urban demotic and gritty subject matter. Sammy is a blind flâneur trapped in a Kafkaesque carceral society which has transformed the once-familiar city streets into a labyrinth. We therefore argue that How Late It Was, How Late is less a work of urban realism than a self-reflexive reworking of the crime novel. Cet article analyse le roman de James Kelman, How Late It Was, How Late (1994), à travers le prisme du roman policier et de la figure du flâneur. Le roman tourne autour de Sammy, un criminel glaswegien qui a un penchant pour la flânerie (« wandering ») et qui perd la vue après une rencontre violente avec la police. Nous explorons comment l’aveuglement de Sammy peut être considéré comme emblématique de la dépossession vécue par les personnes marginalisées de la classe ouvrière, surveillées à tout moment par l’état. Nous constatons que la focalisation interne sur Sammy, selon laquelle nous semblons habiter son point de vue sans avoir un accès complet à ses secrets, implique le lecteur dans les mêmes systèmes de surveillance auxquels Sammy cherche à s’échapper. En outre, en explorant la manière dont le langage est contrôlé et dicté par l’état, le roman semble anticiper certaines des controverses qui ont accompagné sa victoire au Booker Prize, notamment en ce qui concerne sa démotique urbaine et le milieu défavorisé auquel se déroule le récit. Sammy est un flâneur aveugle piégé dans une société carcérale kafkaïenne qui a transformé les rues de la ville, autrefois familières, en labyrinthe. Nous constatons donc que How Late It Was, How Late est moins une œuvre de réalisme urbain qu’une réécriture autoréflexif du roman policier.

Στο παρόν άρθρο σκοπός της έρευνας είναι η ανάδειξη του πολιτισμικού περιπάτου και της κινηματογράφησής του ως σημαντικού μέσου για την περιβαλλοντική ευαισθητοποίηση ατόμων κάθε ηλικίας. Η μέθοδος που επιλέχθηκε είναι η ποιοτική έρευνα με εργαλεία ημι-δομημένες συνεντεύξεις από παλαιότερους κατοίκους των Αγίων Αναργύρων αφενός και επιτόπια έρευνα με συμμετοχική παρατήρηση κατά την προσωπική περιπλάνηση στην περιοχή αφετέρου. Ο κινηματογράφος της παρατήρησης με την ενδελεχή και μακροχρόνια συμμετοχική παρατήρηση μέσα από την κάμερα ενός κινητού τηλεφώνου, πρόσφερε μεθοδολογικά εργαλεία για την κινηματογράφηση. Επίσης στην μέθοδο επιλέχθηκε η βιβλιογραφική έρευνα σχετικά με την επίδραση του αστικού χώρου στην ανθρώπινη συμπεριφορά, την «ψυχογεωγραφία» (Debord,1955), κατά την αστική περιπλάνηση (“flânerie”) και την έννοια του «πλάνητα» (Benjamin,1939). Τα συμπεράσματα της έρευνας είναι ότι η νοηματοδότηση του χώρου σαν ένα «ψυχογεωγραφικό τοπίο» (Bruno, 2011), όπου εδράζονται η συλλογική μνήμη, τα βιώματα και οι επιθυμίες των ανθρώπων, συμβάλλουν στην δημιουργία συναισθηματικών δεσμών αγάπης ανάμεσα στον κινηματογραφιστή, το περιβάλλον και τους συνανθρώπους του. Η παραπάνω αντίληψη του χώρου έχει ως αποτέλεσμα την περιβαλλοντική ευαισθητοποίηση και την ενδυνάμωση των κοινωνικών σχέσεων. Συμπερασματικά ο περιπλανώμενος κινηματογραφιστής αποκομίζει την αίσθηση επανιδιοποίησης του περιβάλλοντος δημόσιου χώρου, αντιλαμβάνεται τον εαυτό του ως μέρος του περιβάλλοντος και βιώνει έντονη συγκίνηση. Τέλος ευαισθητοποιείται σχετικά με τα ζώα που ζουν στην πόλη και προβληματίζεται για την διατήρηση φυσικών χώρων ή τόπων με έντονη ιστορική και πολιτισμική αξία., In this article, the purpose of the research is to enhance the cultural promenade and its filming as an important tool for the environmental awareness for people of any age. The method which has been followed is qualitative research by using semi-structured interviews from older citizens of Agioi Anargyroi on the one hand and by using field research with participatory observation during the personal wandering in the area on the other hand. The observational cinema, with the detailed and long-lasting participatory observation through the camera of a mobile phone, offered a methodological tool for the cinematography. Another part of methodology contains bibliographic research about the influence of urban space to the human behavior, the “psychogeography” (Debord, 1955), during wandering through the city (“flânerie”), and the meaning of “flâneur” (Benjamin, 1939). The conclusion of the research is that the perception of space as a “psychogeographical landscape” (Bruno, 2011), a place full of the collective memory, lived experiences and desires of people, contribute to the creation of emotional bonds between the cinematographer, the environment and other humans. Τhis perception of space leads to the environmental awareness and the empowerment of the social relations. Furthermore, the wanderer-cinematographer becomes the feeling of reappropriating the environmental public space, understands his self as a part of the environment and experiences strong emotions. Finally, the cinematographer becomes aware of the animals which live in a city and critical about the preservation of natural spaces or places with strong historical and cultural value.&nbsp

Even though Teju Cole’s debut novel, Open City, has often been analyzed within the spectrum of themes such as racialization and ethnicity, its relevance in the post-9/11 canon is worthy of attention. As such, this contribution seeks to examine the salience of September 11 and the role of the protagonist, as post-9/11 flâneur, considering how Cole’s novel reframes the political and transnational implications of 9/11 drawing from flânerie to offer a wider viewpoint on the national and interracial implications of the attacks. As the article aims to show, the narrative adopts flânerie as a strategy to ponder on the post-9/11 phenomenon memorializing the attacks in New York and consequently reterritorializing terrorism in Brussels to engage in an international perspective. Aligning with the contention that post-9/11 narratives have been concerned with revising the city as the origin of a discussion on the attacks, the essay aims to show how Cole leans toward a universalist view of the event so that the novel engages with the transcontinental impact of 9/11. This article's ultimate intent is to consider the flâneur as the thread that guides to a broader challenging discussion on the significance of 9/11 respatializing the consequences of the terrorist attacks beyond the United States.

The modern city ethos has been a significant subject in social and literary theories since Charles Baudelaire, the 19th-century poet and author. Baudelaire's interest in the relationship between city imageries and modernity has inspired many of his successors that look at politics, culture, gender, phenomenology, and ontology. Thus, contemporary philosophy has approached the modern city as an intersectional sphere of existence. The two prominent 20th-century thinkers, Walter Benjamin and Jean-Paul Sartre endeavor to use Baudelaire's work as a theoretical structure to ground their understanding of the modern city ethos. Benjamin uses Baudelaire's concept of flâneur, which initially symbolizes the idle, extraordinary, and lonely individuals in early modern cities, to interpret the experience of modernity. Sartre includes city characters that resemble flâneur in his novels and essays to disclose his existentialist thought. Both see the tension between modernity and the city ethos as an enigma that produces alienation, exploitation, and exclusion. In this study, we analyze the thoughts of Benjamin and Sartre regarding the problem of existence in modern cities. First, we look at the concept of flâneur as a subject of modernity. Then we respectively explain the thinkers' works, thus emphasizing their differences. We argue that Benjamin ascribes a relatively sociocultural context to the modern city experience, while Sartre mainly looks at the problem from a phenomenological perspective., Modern şehir ethosu, 19. yüzyıl şair ve yazarı Charles Baudelaire'den bu yana sosyal ve edebi kuramlarda önemli bir tartışma konusu olagelmiştir. Baudelaire'in şehir imgeleri ve modernlik arasındaki ilişkiye duyduğu ilgi, siyaset, kültür, toplumsal cinsiyet, fenomenoloji ve ontoloji üzerine çalışan ardıllarının pek çoğuna esin kaynağı oluşturmuştur. Böylece çağdaş felsefe, modern şehri kesişimsellikler ile bezeli bir varoluş alanı olarak ele almıştır. Yirminci yüzyılın önde gelen iki düşünürü olan Walter Benjamin ve Jean-Paul Sartre da Baudelaire'in çalışmalarından modern şehir ethosuna ilişkin kuramlarını temellendirmek için faydalanmışlardır. Benjamin, modernlik deneyimini açıklamak için Baudelaire'in erken dönem modern kentlerdeki aylak, sıra dışı ve yalnız bireyleri simgeleyen flâneur kavramını kullanmıştır. Sartre ise varoluşçuluk düşüncesini ortaya koymak için romanlarında ve denemelerinde flâneur esintileri taşıyan şehir karakterlerine yer vermiştir. Her ikisi de modernite ile şehir ethosu arasındaki gerilimi, yabancılaşma, sömürü ve dışlama üreten bir muamma olarak görmüştür. Bu çalışmada Benjamin ve Sartre'ın modern kentlerdeki varoluş problemine ilişkin düşünceleri incelenmiştir. Önce modernitenin bir öznesi olarak flâneur kavramına bakılmış, daha sonra ise Benjamin ve Sartre’ın konuya temas eden eserleri sırasıyla incelenerek bu eserler arasındaki farklılıklar açıklanmıştır. Çalışma ile Benjamin'in modern şehir deneyimine sosyokültürel bir bağlam atfettiği, Sartre'ın ise probleme daha fenomenolojik bir perspektiften yaklaştığı sonucuna varılmıştır.

Her devrim gibi Sanayi Devrimi’nin de üretim ve ekonomik ilişkilere olan etkisi, sosyal ve toplumsal alanda önemli değişimleri beraberinde getirmiş; ortak yaşamın paylaşıldığı kent anlayışının ortaya çıkmasına neden olmuştur. Bu erken dönem modern, yeni kent yaşamındaki gelişmeler insanların duygu ve düşüncelerini etkileyerek kentli insan algısının oluşmasını sağlamış ve şehirli insan profillerini yaratmıştır. İlk olarak Charles Baudelaire’in ‘Modern Hayatın Ressamı’ kitabında karşılaşılan kentli insan profillerinden ‘Flaneur’ de bunlardan biridir. Baudelaire’e göre Flaneur, modern kentin en ücra köşelerini dahi dolaşan, kalabalıklardan ve kentin kaosundan faydalanarak gizlenen/peçelenen, kalabalıkların gizlediği kent insanıyla empati kuran, onların kılığına bürünen, taklit eden fakat kendi benliğinin aralarında erimesine izin vermeyen bir modern kent kahramanıdır. Flaneur haber arayan, haberi bulmak için dolaşan bir gazetecinin görevi gibi değil de kent ile bütünleşen, dokusuna karışan bir seyyah, bir aylaktır. Hayatını bir kent seyyahı, flaneur olarak sürdüren Manet, Paris sokaklarındaki modern değişiklikleri ve sakinlerinin hayatlarını kaydetti. Manet’in büründüğü flaneur figüründe, ressamlığın aslında bir aktörlük oluşunda keşfederek mümkün olabilmiş görünmektedir. Manet’in modern sanatın babası oluşuna dair yerleşik sarsılmaz yargının anlamı da budur. Bu durum neden 20. yüzyıl estetiğinin öncesinden bu kadar sert bir ayrımla farklılaştığını da açıklar. Sanatçılar artık sonuç yapıta değil, giderek artan bir tarzda yaratıcı fiile odaklanmaya başlamışlardır. Like every revolution, the effect of the Industrial Revolution on production and economic relations brought about important changes in the social and social field; has led to the emergence of the city concept where common life is shared. The developments in this early period of modern, new urban life affected people's feelings and thoughts, created the perception of urban people and created urban people profiles. One of these is the 'Flaneur', an urban human profile first encountered in Charles Baudelaire's book 'The Painter of Modern Life'. According to Baudelaire, Flaneur is a modern urban hero who wanders even the farthest corners of the modern city, hides/veils by taking advantage of the crowds and the chaos of the city, empathizes with the urban people concealed by the crowds, disguises them, imitates them, but does not allow his own self to melt among them. Flaneur is a traveler, a wanderer who integrates with the city and blends into its fabric, rather than the task of a journalist looking for news and wandering around to find it. Continuing his life as a city traveler, flaneur, Manet recorded the modern changes in the streets of Paris and the lives of its inhabitants. It seems to have been possible by discovering that painting is actually an actor, in the figure of the flaneur that Manet takes on. This is the meaning of the established unshakable judgment that Manet is the father of modern art. This also explains why the 20th century aesthetics differed from its predecessor with such a sharp distinction. Artists are no longer focusing on the final work, but increasingly on the creative act.

John Searle tarafından öne sürülen Biyolojik Doğalcı kuramın bir tarafı Church–Turing tezinden güç alan von Neumann mimarili dijital bilgisayarların neleri asla başaramayacağı üzerine iken diğer bir yanı zihin felsefesinde ikicilik olarak bilinen görüşlere karşı bilincin her yönüyle bilimsel, nesnel, üçüncü-şahıs bakış açısından araştırılabileceğini iddia etmektedir. Hem bilincin doğal dünyanın, öznel, asla indirgenemez, niteliksel ama biyolojik bir parçası olduğunu, hem de zihnin seri işlemcili, von Neumann mimarili dijital bilgisayarla taklit edilmesinin mümkün olduğunu kabul eden Searle, diğer yandan, güçlü yapay zekâ doktrininin temel hedefinin halen imkânsız olduğunu düşünmektedir. İçerik yüklü zihin, sentakstan ibaret programdan daha fazlasıdır. Bu kuramın tüm radikal sonuçlarının üstünde yükseldiği tek temel, sentakstan semantiğin çıkamayacağının, Searle tarafından, kavramsal bir doğru olarak kuvvetle benimsenmesidir. Tüm sorun, gelip kendisinin özdeşlik, indirgeme, eleyicilik, simülasyon, kavramsal doğruluk ve nedensellik terimlerini alışılmadık şekillerde kullanmasına dayanmaktadır., One side of the Biological Naturalist approach put forward by John Searle is about what the digital computer with von Neumann architecture, powered by the Church–Turing thesis, will never achieve, while the other side claims that consciousness can be investigated from a scientific, objective, third-person perspective, against the views known as dualism in the philosophy of mind. As consciousness is a subjective, irreducible, qualitative but biological part of the natural world, it is possible to simulate the mind with a von Neumann digital computer with a serial processor. On the other hand, he thinks that the primary goal of the strong artificial intelligence doctrine is still impossible. The concrete mind with intentional content is more than an abstract program with mere symbols. The only basis on which all his radical conclusions rise is Searle’s wholehearted adoption of the assumption that semantics cannot emerge from syntax as a conceptual truth. The whole problem comes down to his unconventional use of the term’s identity, reduction, elimination, simulation, conceptual truth, and causality.

El propósito de este trabajo es inscribir en un mismo recorrido el conjunto de narraciones de Valeria Luiselli. Para ello, después de esbozar un panorama de los artículos dedicados a su narrativa, me centraré en demostrar que el denominador común que articula sus obras alrededor de un mismo segmento no es otro que el de la sujeción de la escritura a una lógica móvil a través de la cual avanzará desde una reescritura del flâneur y un movimiento solitario, en las primeras novelas y ensayos; a un movimiento de acogida y amparo, cuyo punto de referencia es la crisis política de los refugiados, en sus dos últimos textos. el propòsit d'aquest treball és inscriure en un mateix recorregut el conjunt de narracions de Valeria Luiselli. Per això, després d'esbossar un panorama dels articles dedicats a la seva narrativa, em centraré a demostrar que el denominador comú que articula les seves obres al voltant d'un mateix segment no és un altre que el de la subjecció de l'escriptura a una lògica mòbil a través de la qual avançarà des d'una reescriptura del flâneur i un moviment solitari, en les primeres novel·les i assajos; a un moviment d'acollida i protecció, punt de referència del qual és la crisi política dels refugiats, en els seus dos últims textos. The purpose of this article is to lay out the thematic through line of Valeria Luiselli's narrative work. After providing an overview of the articles dedicated to her writings I will demonstrate that the common denominator, which binds her works together, is the subjection of writing to a mobile logic. This logic advances from a rewriting of the solitary 'flâneur' in her first novel and book of essays, to a movement of embrace and sheltering in her two most recent works, those that center around the political refugee crisis.

Bu çalışma İşe Yarar Bir şey (Pelin Esmer, 2017) adlı filmdeki tren yolculuğunu ve kent içindeki gezintiyi başkarakter Leyla’nın dişil bakışını temsilen flaneus kavramı çerçevesinde değerlendirmek üzere hazırlanmıştır. Flaneur kavramı eril kimliğe sahiptir ve Fransız şair, Charles Baudelaire’in şiirlerinden ilhamla Alman edebiyat eleştirmeni Walter Benjamin tarafından kuramsallaştırılmıştır. Kavram, 19.Yüzyıl Avrupa’sının modernleşme ve beraberinde getirdiği kitle kültürünün şehirli, entelektüel, gözlemci bireyini işaret eder. Baudelaire’in şiirlerine fon olan Paris’te gezinen ve gözleyen birey, Benjamin’in kuramsallaştırmasında bu deneyimden düşünce üretmektedir. Dönemin eleştirel okumasını sokaklar aracılığı ile yapabilen birey olarak eril figür uzunca dönem bu ayrıcalığı taşısa da 20. Yüzyıl’ın kültürel ve ekonomik dönüşümleri kent gezgini ayrıcalığını tek cinsiyetten arındırmıştır. Flaneus kavramı dilin ataerkil kalıplarını esneten gücünü temsil eder. Sanatın pek çok alanında flaneus yorumlamaları Benjamin’in kuramsallaştırdığı kentli ve eleştirel bakış gücüne sahip eril figürü aşıp bu bakışı çoğaltmıştır. Sinema sanatı da çok yönlü okumaya elverişli ve bu yönüyle de kendisini her izlemede çoğaltan ve yenileyen bir dinamiğe sahiptir. Bu bakış açısı ile İşe Yarar Bir Şey filmi çözümlemesinde başkarakter Leyla’nın yolculuğu ve gözlemleri modern bir flaneuse okuması olarak değerlendirilecek, tren yolculuğunun, kentlerde ve metropolde kalabalıkların içinde gözlem yapmanın ve insanları izlemenin bir kadın gözünden çağın ruhunu nasıl yansıttığı yakalanmaya çalışılacaktır.

According to Giorgio Agamben, the Greek term for ‘habitual dwelling place,’ or ‘habit,’ is ethos. The rise to prominence in the twentieth century of the modern idea of the suburb, or ‘suburbia,’ held open the door to the potential realization of the American (and Canadian) dream ethos of universal home ownership. The tantalizing appeal of a the ideal of ‘home’ and ‘homeland’ have become key terms in the Post World War Two pursuit of a mode of ‘dwelling’ linked to consumer capitalism. Yet for Frankfurt School critics such as Theodor W. Adorno, the pursuit of this suburban ideal induced a deep sense of ennui such that to feel ‘at home’ in such a suburban environment challenged the very foundations of the dwelling place of Western civilization. “It is part of morality,” Adorno concluded in his book, Minima Moralia, “not to be at home in one’s home.” This text is an exercise in examining this question of “dwelling” and “home” through an allegorical poetical focus (drawn from Walter Benjamin and Charles Baudelaire) focusing on a newly completed suburb in the Canadian city of Halifax, Nova Scotia.

Cet article propose une analyse du deuxième roman de l’auteur mauricien Barlen Pyamootoo, Le Tour de Babylone, qui examine comment une voix narrative double projette deux visions disparates de la ville de Bagdad. D’une part, Bagdad devient un lieu de visite qui attire l’attention du voyageur occidental ; mais, d’autre part, le protagoniste résiste à ce regard touristique et explore la ville avec une sensibilité qui se rapproche de celle du flâneur baudelairien. Notre interprétation de cette oeuvre met au jour le pouvoir de l’imaginaire du flâneur transnational qui permet au héros, tout comme à son auteur, de superposer le lieu de son enfance africain à cette terre étrangère., This article offers an analysis of Mauritian author Barlen Pyamootoo’s second novel, Le Tour de Babylone, which examines how a dual narrative voice projects two distinct visions of the city of Bagdad. On the one hand, Bagdad is completely transformed into a tourist attraction, specifically reimagined to entice the Western visitor. On the other hand, the protagonist is able to resist this touristic perspective and explores the city with a sensibility similar to that of Baudelaire’s flâneur. In the end, it is the strength of the transnational flâneur’s imagination that allows both Pyamootoo and his hero to superimpose their African homeland onto Iraq.

Simmel’sblaséand Benjamin’sflâneuras symbols of their models of metropolitan subjectivity can be the necessary reference points for delineating two models, sometimes converging, other times diverging, regarding the representation of the individual and its possible autonomy in the context of the “aestheticization” of contemporary daily life. Simmel does not stop looking – albeit with an accent on the tragic that grew ever stronger in last stages of his reflections – at the individual and the process of individualization from the perspective of the ever more marked differentiation and growth of the vital possibilities of the individual. Simmel’s conception of life as Adventure expresses an irreversible trend of contemporary subjectivity, which is towards the realization of its peculiarity and uniqueness. Benjamin, on the contrary, criticizes the conception of the adventure as the very search for true “lived experience” (Erlebnis), because it would lead directly to the aestheticization of politics, the exaltation of the noble gesture, the search for the authentic − all the forms of cultural expression that led to fascism and war. He seems rather prefer going beyond − in the utopian and/or ideological sense − the individualistic structure of contemporary society. His hope was that the void created by the disappearance of the western individual could be filled by new forms and figures of subjectivity and intellectuality made possible through the means offered by the technical reproducibility of artwork. From an exquisitely theoretical point of view, nothing can guarantee a priori that the search for authenticity does not head in this regressive direction, instead of establishing a point of departure towards new ethical and political paths.

L’article étudie la nature et les différentes pratiques de l’observation, tant en entomologie qu’en littérature. L’observation, dépendante du langage, amène à des descriptions aussi bien des insectes que de la société humaine à l’exemple de Balzac, de Zola, de Proust et de Robbe-Grillet. Deux types d’observation, celle du flâneur qui interprète les signes et celle du voyeur dans La Jalousie, sont également opposés, entre subjectivité et objectivité.

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No. of bitstreams: 1 mazarini_acl_dr_mar.pdf: 35094842 bytes, checksum: 6a8f7990167c8a52187d64d776b14420 (MD5) Previous issue date: 2022-07-05 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Entender a lógica de produção e exclusão das cidades brasileiras foi o fio condutor do percurso percorrido neste trabalho dentro das ciências sociais e que levaram a produção desta tese. Ao debruçar sobre as mazelas sociais características do cenário urbano brasileiro compreendi que para lançar luz sobre minhas indagações precisaria compreender a gênese do processo de formação do ideário de metrópole moderna. Assim surgiu os objetivos deste trabalho que é o de fazer uma análise sobre as bases de formação dos espaços urbanos modernos, como também, o de indicar os pontos e as formas sobre as quais elas estão presentes dentro da formação da sociedade urbana brasileira. A partir de um levantamento bibliográfico ligado às bases da sociologia e da sociologia urbana realizamos uma análise histórica e sociológica do modelo de intervenção urbana implementada em Paris na segunda metade do século XIX, por Napoleão III e pelo urbanista Haussmann, com o entendimento de que foi essa a experiência que consolidou o modelo de intervenção urbana cuja produção e gestão do espaço urbano tem como base a racionalidade econômica, e que trouxe como características para os espaços urbanos e para as subjetividades modernas a segregação espacial e a figura do flâneur como seu habitante, e que apresenta paralelos nos processos de renovação e constituição urbana até os dias de hoje. Dessa forma, também buscamos, a partir da análise documental dos últimos projetos de renovação propostos para a região central de São Paulo, identificar esses elementos de reprodutibilidade de constituição dos espaços da cidade e de reformulação das subjetividades presentes na região que acarreta não apenas nos problemas sociais já identificados nas cidades brasileiras, mas que visam e introduzem um ideário de sociedade moderna nacional. Identificamos elementos de convergência entre os dois momentos de construção de ideário urbano, como no recorte das cidades em espaços segregados e estratificados e na construção do modelo de subjetividade desejável ao indivíduo moderno, mas que também apresenta novas formulações em termos de construção de espaço e de sujeito quando implementados no cenário latino-americano. Assim, esse processo de modernização da cidade de São Paulo trouxe para o seio da sociedade paulista moderna enclaves segregadores que são habitados por uma nova tipologia de flâneur: a ralé endividada. To understand the logic of production and exclusion in Brazilian cities was the guiding line of this work path within the Social Sciences and that led to the production of this thesis. When looking at the social problems characteristic of the Brazilian urban scenario, I understood that in order to shed light on my inquiries, I would need to understand the genesis of the formation process of modern metropolis ideals. Thus arose the objectives of this work, which is to make an analysis of the foundations of the modern urban spaces formation, as well as to indicate the points and ways in which they are present within the formation of Brazilian urban society. From a bibliographic survey linked to the bases of sociology and urban sociology, we carried out a historical and sociological analysis of the urban intervention model implemented in Paris in the 19th century second half, by Napoleon III and the urbanist Haussmann, with the understanding that it was this experience that consolidated the urban intervention model in which the urban space production and management are based on economic rationality, and that brought as characteristics to urban spaces and to modern subjectivities the spatial segregation and the figure of the flâneur as its inhabitant, and that it parallel itself in the urban constitution and renovation processes until the present day. Therefore, we also seek, from the documentary analysis of the last renovation projects proposed for the central region of São Paulo, to identify these reproducibility elements of the city spaces constitution and of the subjectivity reformulation present in the region, that not only causes social problems already identified in Brazilian cities, but which aim at and introduce an ideal of modern national society. We identified elements of convergence between the two moments of construction of urban ideals, such as the cutting of cities into segregated and stratified spaces and the construction of the model of subjectivity desirable to the modern individual, but which also presents new formulations in terms of space and subject construction when implemented in the Latin American scenario. Thereby, this process of modernization of the city of São Paulo brought to the core of modern São Paulo society the segregating enclaves that are inhabited by a new typology of flâneur: the indebted ralé.

O artigo propõe uma refleção sobre a cidade de São Paulo na década de 1950 e suas representações. Se de um lado as representações hegemônicas costumam ser impregnadas por um discurso fortemente ufanista, de outro lado os indivíduos que vivenciaram a cidade da época de maneira cotidiana e anônima podem revelar outras visões. Com recorte micro-histórico, procurou-se investigar a experiência e as impressões de um indivíduo em particular: um visitante francês anônimo que explorou a cidade, com olhar flâneur, entre os meses de setembro e novembro de 1952. A análise de um conjunto de fotografias de rua e anotações pessoais produzido por esse indivíduo revela uma cidade bastante diferente da oficial, com realidades urbanas silenciadas pelo discurso hegemônico.

Like every revolution, the effect of the Industrial Revolution on production and economic relations brought about important changes in the social and social field; has led to the emergence of the city concept where common life is shared. The developments in this early period of modern, new urban life affected people's feelings and thoughts, created the perception of urban people and created urban people profiles. One of these is the 'Flaneur', an urban human profile first encountered in Charles Baudelaire's book 'The Painter of Modern Life'. According to Baudelaire, Flaneur is a modern urban hero who wanders even the farthest corners of the modern city, hides/veils by taking advantage of the crowds and the chaos of the city, empathizes with the urban people concealed by the crowds, disguises them, imitates them, but does not allow his own self to melt among them. Flaneur is a traveler, a wanderer who integrates with the city and blends into its fabric, rather than the task of a journalist looking for news and wandering around to find it. Continuing his life as a city traveler, flaneur, Manet recorded the modern changes in the streets of Paris and the lives of its inhabitants. It seems to have been possible by discovering that painting is actually an actor, in the figure of the flaneur that Manet takes on. This is the meaning of the established unshakable judgment that Manet is the father of modern art. This also explains why the 20th century aesthetics differed from its predecessor with such a sharp distinction. Artists are no longer focusing on the final work, but increasingly on the creative act., Her devrim gibi Sanayi Devrimi’nin de üretim ve ekonomik ilişkilere olan etkisi, sosyal ve toplumsal alanda önemli değişimleri beraberinde getirmiş; ortak yaşamın paylaşıldığı kent anlayışının ortaya çıkmasına neden olmuştur. Bu erken dönem modern, yeni kent yaşamındaki gelişmeler insanların duygu ve düşüncelerini etkileyerek kentli insan algısının oluşmasını sağlamış ve şehirli insan profillerini yaratmıştır. İlk olarak Charles Baudelaire’in ‘Modern Hayatın Ressamı’ kitabında karşılaşılan kentli insan profillerinden ‘Flaneur’ de bunlardan biridir. Baudelaire’e göre Flaneur, modern kentin en ücra köşelerini dahi dolaşan, kalabalıklardan ve kentin kaosundan faydalanarak gizlenen/peçelenen, kalabalıkların gizlediği kent insanıyla empati kuran, onların kılığına bürünen, taklit eden fakat kendi benliğinin aralarında erimesine izin vermeyen bir modern kent kahramanıdır. Flaneur haber arayan, haberi bulmak için dolaşan bir gazetecinin görevi gibi değil de kent ile bütünleşen, dokusuna karışan bir seyyah, bir aylaktır. Hayatını bir kent seyyahı, flaneur olarak sürdüren Manet, Paris sokaklarındaki modern değişiklikleri ve sakinlerinin hayatlarını kaydetti. Manet’in büründüğü flaneur figüründe, ressamlığın aslında bir aktörlük oluşunda keşfederek mümkün olabilmiş görünmektedir. Manet’in modern sanatın babası oluşuna dair yerleşik sarsılmaz yargının anlamı da budur. Bu durum neden 20. yüzyıl estetiğinin öncesinden bu kadar sert bir ayrımla farklılaştığını da açıklar. Sanatçılar artık sonuç yapıta değil, giderek artan bir tarzda yaratıcı fiile odaklanmaya başlamışlardır.

L’émergence de villes fantômes est parfois comprise aujourd’hui comme étant le symptôme d’un monde en constante mouvance. En France, la désertion des habitants des centres-villes sous l’effet du déploiement des activités tertiaires, de la finance et du tourisme se montre un facteur critique des conditions d’habitabilité de la ville moderne, risquant parfois d’affecter une certaine idée de l’identité française au sein des imaginaires. La production romanesque de Patrick Modiano, ces dernières années, a mis en scène toute une série de personnages plongés au cœur même de ce Paris déserté, capitale appréhendée sous le prisme de la ville fantôme. Qu’il s’agisse des Boulevards de Ceintures ou bien encore du Quartier Perdu, ces récits aux titres évocateurs déploient un large éventail de personnages – souvent exilés, apatrides, portant le statut de réfugié et convoitant la naturalisation française, autant d’entités subjectives pour lesquelles l’identité française demeure à la fois source de fascination (quête) et de répulsion (fuite). Considérant la mesure dans laquelle cette récente fascination artistique pour les espaces urbains abandonnés et autres espaces « blancs » de la ville interroge profondément les marqueurs d’une condition urbaine à la fois française et contemporaine, il s’agira d’analyser plus en détails le cas spécifique de la ville fantôme mise en place par Patrick Modiano, à l’intérieur de laquelle différentes modalités de la « francité » se dessinent et méritent d’être abordées dans le contexte d’aujourd’hui.

O recorte realizado nesse artigo faz parte de uma pesquisa sobre crônicas e formação jornalística e consiste na observação de práticas de leitura envolvendo a obra A alma encantadora das ruas, de João do Rio (1908), junto a turmas de Jornalismo. As leituras realizadas estão atreladas à produção de reportagens-crônicas cujo mote foi a rua. As noções de leitor, lido, leitante e lendo, de Vincent Jouve (2002), e de flanêur, escriba e intérprete, de Bertrand Gervais (2004), são retomadas para pensar de que maneira a flanação literária pode impulsionar a flanação de ofício.

Embracing a historical-materialist approach, this article aims to analyze physical, social and spatial layers of Kocabeyoğlu Pasajı, located in Kızılay, Ankara. The required theoretical and methodological structuring of the subject is organized based on the inferences from cultural historian Walter Benjamin’s study, the Arcades Project. In this study, Benjamin develops the concept of dialecticimage, which indicates the capturing of the past in certain images of the now. Benjamin achieves this by investigating the tangible in close detail. In addition to this tool of investigation, which implicitly formulates Benjamin’s study, another point to highlight is the dissolution of dwelling, described in Benjamin’s study as the mode of existence of the 19th century, and the emergence of the arcades as the house for collective activity in the city. Benjamin’s observation of this permeability provides a thought-provoking vantage point for the transformation of spatial practices that Kocabeyoğlu Pasajı accommodates. This article examines the history of the apartment as the subject of this transformation in relation to the re-structuring of the surrounding area. The arcade in Kızılay, created by converting the basement and ground floors of the apartment facing Atatürk Boulevard and Izmir Avenue, has remained largely intact in its original form since the mid-1950s. Understanding the dissolution of dwelling through the dialectic image method enables the identification in the ‘now’ of the tension between private and public, unveiled via symbolic meanings of commodities. This article presents this tension and seeks to understand Kocabeyoğlu as an experience of the flaneuse, i.e. through the female, rather than the flaneur, which came to be known with Benjamin as the modern urban explorer. The fall of Kocabeyoğlu in the 2000s and the type of consumption it is identified with today, which largely centers on lingerie, wedding dresses, dowry materials, and textiles, make it possible to argue that this arcade, which has been known since its early days as a center of family-oriented consumption, is the abode of flaneuse.

La présente étude est une ethnographie du boulevard Saint-Laurent qui a duré 11 mois et au cours de laquelle j’ai intégré ce que l’on qualifie aujourd’hui le « cœur » du boulevard, la portion allant de la rue Sherbrooke à l’avenue Mont-Royal. Me basant sur des observations, des entretiens avec des résident.es et des commerçant.es, des brochures touristiques et les installations éducatives longeant l’artère, j’entreprends une entreprise de démystification : comprendre la réalité du boulevard contemporain en la substituant à l’aura énigmatique et mystérieuse que l’on retrouve dans les écrits historiques et les discours populaires. En menant des entretiens, je dénote une « nostalgie moderne » chez les résident.es et les commerçant.es de l’artère et montre leur utilisation différenciée de qualificatifs comme « gentrification » et « effervescence ». Par mes observations de tableaux éducatifs longeant les trottoirs, je fais l’expérience d’une « nostalgie post-moderne » et révèle les intérêts des sociétés de développement quant à la transformation commerciale du boulevard. Je perçois que les sens attribués à l’imaginaire du boulevard contemporain se définissent selon un rapport temporel et critique. Ma méthode d’enquête est à la fois phénoménologique, dans la mesure où elle reprend la figure du flâneur de Walter Benjamin comme posture d’observation, et « empirique », notamment par l’utilisation du feuilleton sociologique inspiré de Siegfried Kracauer, approche qui insiste sur la matérialité du quotidien, les discours et les observations., The current study is an ethnography of Saint-Laurent Boulevard, which lasted 11 months and during which I integrated what is now called the “heart” of the boulevard, the portion between Sherbrooke street to Mont-Royal avenue. Based on observations, interviews with residents and shop owners, tourist brochures, and historical posters installed along the boulevard, I undertake an enterprise of demystification: to understand concretely the reality of the contemporary boulevard by going beyond an enigmatic and mysterious aura perpetuated in historical writings and popular discourses. In conducting interviews, I note a “modern nostalgia” among residents and shop owners of the boulevard and show their differentiated uses of words like “gentrification” and “effervescence”. Through my observations of historical boards lining the sidewalks, I experience a “post-modern nostalgia” and reveal the interests of development associations in the commercial transformation of the boulevard. I perceive that the meanings attributed to the imagination of the contemporary boulevard are defined according to a temporal and critical relation. My method of inquiry is both phenomenological, as it takes up Walter Benjamin’s figure of the flâneur as a posture of observation, and “empirical”, in particular through the use of sociological feuilletons inspired by Siegfried Kracauer, an approach which stresses the importance of the materiality of everyday life, discourses and observations.

RESUMO O presente ensaio procura aproximar três figuras, o flâneur, o malandro e o compadrito, originárias de três grandes cidades do século XIX, Paris, Rio de Janeiro e Buenos Aires, respectivamente, segundo os termos desenvolvidos por Walter Benjamin em ensaio clássico. Por hipótese, os três consistem, não somente, em figuras esmaecidas pelas forças do progresso, mas também performam uma resistência ambivalente a essas forças, particular a cada caso. Ainda poderíamos pensá-los como figuras relacionadas entre si e formadoras de um intrigante desenho diante do crescimento das cidades e do avanço do capitalismo oitocentista. ABSTRACT This essay seeks to bring together three figures, the flâneur, the malandro and the compadrito, from three great cities of the 19th century, Paris, Rio de Janeiro and Buenos Aires, respectively, according to the terms developed by Walter Benjamin in a classic essay. By hypothesis, the three consist not only of figures dimmed by the forces of progress, but also perform an ambivalent resistance to these forces, particular to each one. We could still think of them as figures related to each other and forming an intriguing design in the face of the growth of cities and the advance of nineteenth-century capitalism.

This paper aims to reflect on the city of São Paulo in the 1950s and its representations. If, on the one hand, hegemonic representations are usually impregnated with a strongly boastful discourse, on the other hand, individuals who experienced the city at the time in an everyday, anonymous way can reveal other views. With a micro-historical approach, we sought to investigate the experience and impressions of one particular individual: an anonymous French visitor who explored the city with a flâneur eye from September to November 1952. The analysis of a set of street photographs and personal notes produced by this person reveals a city quite different from the official one, with urban realities silenced by the hegemonic discourse., O artigo se propõe a refletir sobre a cidade de São Paulo na década de 1950 e suas representações. Se de um lado as representações hegemônicas costumam ser impregnadas por um discurso fortemente ufanista, de outro lado os indivíduos que vivenciaram a cidade da época de maneira cotidiana e anônima podem nos revelar outras visões. Com recorte micro-histórico, procurou-se investigar a experiência e as impressões de um indivíduo em particular: um visitante francês anônimo que explorou a cidade, com olhar flâneur, entre os meses de setembro e novembro de 1952. A análise de um conjunto de fotografias de rua e anotações pessoais produzido por esse indivíduo revela uma cidade bastante diferente da oficial, com realidades urbanas silenciadas pelo discurso hegemônico.

Mimarlık stüdyolarının en önemli çalışma eksenlerinden birisi hızla değişen ve dönüşen kentlerin çağdaş gelişmelere uyum sağlarken aynı zamanda sahip olduğu kentsel hafızayı nasıl koruyabileceği, geçmişten gelen gündelik yaşam pratiklerinin geleceğe hangi yollarla aktarılabileceğini tartışmaktır. Antalya Bilim Üniversitesi, Güzel Sanatlar ve Mimarlık Fakültesi, Mimarlık Bölümü, Mimari Tasarım IV dersinde, kentsel hafızada yaşanan zamansal ve mekânsal kopukluklara odaklanarak Antalya kent merkezinin en önemli kamusal akslarından olan “Kapalı Yol” ve çevresi çalışma alanı olarak belirlenmiştir. Stüdyo kapsamında çok katmanlı fakat çevresiyle bağlantısı zayıflayan aksın, ‘’Flaneur’’ kavramı, soyutlamalar, haritalamalar aracılığıyla analiz edilmesi amaçlanmıştır. Alanı geleceğe aktarırken aks ve çevresi arasında daha güçlü bağlantılar oluşturan, potansiyel aktiviteleri, farklı bakış açılarını ve kullanım biçimlerini odağına alan tasarım önerilerinin geliştirilmesi hedeflenmiştir. Bu çalışmanın amacı, stüdyoda deneyimlenen yöntemlerin analizden konsept geliştirmeye, problem ve senaryodan mekânsal üretime kadar olan olumlu etkisini tartışmak ve yere ait bilginin sorgulanmasının, farklı perspektiflerden anlaşılmaya çalışılmasının o “yer” için geliştirilecek özgün projeler için önemini vurgulamaktır. One of the most important subject of architectural studios is to discuss how rapidly changing and transforming cities can adapt to contemporary developments while at the same time preserving their urban memory, and in what ways the daily life practices from the past can be transferred to the future. In Antalya Bilim University, Faculty of Fine Arts and Architecture, Department of Architecture, Architectural Design IV studio, focusing on the temporal and spatial disconnections experienced in urban memory, the "Kapalı Yol" and its surroundings, one of the most important public axes of Antalya city center, were determined as the project site. Within the scope of the studio, it is aimed to analyze the multi-layered axis, which has insufficient connection with its environment, through the notion of flaneur, abstractions and mappings. While transferring the space to the future, it is aimed to develop design proposals that create stronger connections between the axis and its surroundings, and focus on potential activities, different perspectives and usage patterns. The aim of this study is to discuss the positive effects of the methods experienced in the studio from analysis to concept development, from problem and scenario to spatial designs, and to emphasize the importance of questioning the knowledge of the place and trying to understand it from different perspectives for the varied project proposals to be developed for that "place". No sponsor

[Resumen] Este texto analiza tres actitudes con las que el artista moderno, a modo de ritual, expresó públicamente sus signos de distinción en el París decimonónico: la flânerie, el dandismo y la bohemia. Estas actitudes lo distinguen en el escenario de una metrópoli tomada por las masas y la burguesía en la que el artista se identifica, principalmente, con el flâneur, figura clave de la modernidad que inaugura un nuevo tipo de mirada sobre una ciudad que, a su vez, lo observa. Así lo exponen tempranamente Georg Simmel, Walter Benjamin o Siegfried Kracauer, además del propio Charles Baudelaire, epítome del artista moderno y de un modo de vida continuado por célebres del “malditismo” como Paul Verlaine y Arthur Rimbaud. El análisis de estas actitudes se ilustra con algunas obras litográficas, fundamentalmente de Honoré Daumier y Paul Gavarni, cuya perspectiva aguda y sarcástica revela algunos de los rasgos claves de la vida metropolitana y de sus tipos más característicos [Abstract] The text focuses on three attitudes through which the modern artist, in a ritualistic manner, publicly expressed distinction in nineteenth-century Paris: flânerie, dandyism and bohemianism. These attitudes distinguish him on the stage of a metropolis taken over by the masses and the bourgeoisie in which the artist identifies himself, mainly, with the flâneur, a key figure of modernity who creates a new type of gaze on a city which, in turn, also observed him. So was analyzed by Georg Simmel, Walter Benjamin, Siegfried Kracauer, as by Charles Baudelaire himself, the epitome of the modern artist and of a way of life continued by accursed poets such as Paul Verlaine and Arthur Rimbaud. The analysis of these attitudes is supported by lithographic works, mostly signed by Honoré Daumier and Paul Gavarni, where some of the key features of metropolitan life and its most characteristic types are revealed from an acute and sarcastic perspective.

The text focuses on three attitudes through which the modern artist, in a ritualistic manner, publicly expressed distinction in nineteenth-century Paris: flânerie, dandyism and bohemianism. These attitudes distinguish him on the stage of a metropolis taken over by the masses and the bourgeoisie in which the artist identifies himself, mainly, with the flâneur, a key figure of modernity who creates a new type of gaze on a city which, in turn, also observed him. So was analyzed by Georg Simmel, Walter Benjamin, Siegfried Kracauer, as by Charles Baudelaire himself, the epitome of the modern artist and of a way of life continued by accursed poets such as Paul Verlaine and Arthur Rimbaud. The analysis of these attitudes is supported by lithographic works, mostly signed by Honoré Daumier and Paul Gavarni, where some of the key features of metropolitan life and its most characteristic types are revealed from an acute and sarcastic perspective. Este texto analiza tres actitudes con las que el artista moderno, a modo de ritual, expresó públicamente sus signos de distinción en el París decimonónico: la flânerie, el dandismo y la bohemia. Estas actitudes lo distinguen en el escenario de una metrópoli tomada por las masas y la burguesía en la que el artista se identifica, principalmente, con el flâneur, figura clave de la modernidad que inaugura un nuevo tipo de mirada sobre una ciudad que, a su vez, lo observa. Así lo exponen tempranamente Georg Simmel, Walter Benjamin o Siegfried Kracauer, además del propio Charles Baudelaire, epítome del artista moderno y de un modo de vida continuado por célebres del “malditismo” como Paul Verlaine y Arthur Rimbaud. El análisis de estas actitudes se ilustra con algunas obras litográficas, fundamentalmente de Honoré Daumier y Paul Gavarni, cuya perspectiva aguda y sarcástica revela algunos de los rasgos claves de la vida metropolitana y de sus tipos más característicos.

In the twenty-first century, we are witnessing a resounding boom in the production and reception of Anglophone African literature. Novelists like Chimamanda Ngozi Adichie, Teju Cole, Lauren Beukes, and Dinaw Mengestu have achieved critical acclaim in Africa, the U.S., Europe, and beyond. My dissertation examines how these writers are reshaping our understandings of African literature and criticism. I explore how “African Boom” writers resemble computer hackers that break existing conventions and actively rebuild those systems for the better. They adeptly learn the “code” of Anglophone literature, but then they “break into” the literary canon, steal the master’s tropes, and modify the literature to be even more effective and resonant among academic and popular audiences. My dissertation specifically engages with the writing of authors who I call Afropolitan hackers. These writers distinctively reflect Afro-cosmopolitan sensibilities in both their fictional and critical works. As they receive high praise from reputable academic and popular literary critics, Afropolitan hackers make bold, dynamic changes to the very literary canon they studied and disrupted. In order to demonstrate how African Boom writers are Afropolitan hackers, I consider how they challenge past and present concerns in postcolonial literature. Specifically, I examine how some of them are “hacking” three classic literary tropes: the flâneur, the griot, and the scammer. By simultaneously debunking and extending traditional theoretical expectations of the African narrative, select Africa-based and migrant Afropolitan authors challenge the notion that their writing must epitomize a single story if they seek to appeal to a global audience.

Πώς υλοποιείται μια έκθεση σύγχρονης τέχνης; Αλλά και ποιος είναι ο ρόλος του επιμελητή μέσα σε αυτήν; Στη διπλωματική εργασία με τίτλο «Flâneuse no6: Ο εικαστικός ως επιμελητής/ ο επιμελητής ως εικαστικός» γίνεται μια προσπάθεια να αποσαφηνιστούν αυτοί οι ρόλοι, αλλά και να δούμε τι συμβαίνει όταν και οι δύο συναντιούνται στο ίδιο άτομο. Τι είναι αυτό που σήμερα έχει περισσότερο αξία σε μια έκθεση; Το έργο ή η διαδικασία μέχρι την τελική παρουσίασή του; Η επιμέλεια αλλάζει μορφή τα τελευταία χρόνια και οι επιμελητές γίνονται πιο ενεργοί από ποτέ. Δράσεις, κοινότητες, διάλογος, αλληλεπίδραση είναι κάποιες από τις λέξεις-κλειδιά που σήμερα συγκροτούν την επιμέλεια εκθέσεων. Με αφορμή τα παραπάνω γεννιέται στο πλαίσιο της παρούσας διπλωματικής εργασίας το project «Flâneuse no6», το οποίο διερευνά έμπρακτα τη διπλή ιδιότητα της εικαστικού και της επιμελήτριας, αλλά και τον τρόπο με τον οποίο μπορεί να δομηθεί ένα εικαστικό project από έναν εικαστικό-επιμελητή. Με βασική θεματική την μορφή του flâneur που εντοπίζεται στο Παρίσι του 19ου αιώνα και τα κείμενα του Charles Baudelaire για την πόλη και την περιπλάνηση, στήθηκε το project της εργασίας μου. Για την υλοποίησή του δημιουργήθηκε μια ομάδα ανθρώπων, όχι μόνο εικαστικών, οι οποίοι συνεργάστηκαν μεταξύ τους. Μέσα από διάλογο, ανταλλαγή απόψεων και ιδεών, τα μέλη της ομάδας κατανόησαν τους βασικούς στόχους του project και, ακολουθώντας τις απαραίτητες οδηγίες, συμμετείχαν σε μία πρωτότυπη εικαστική διαδικασία Η παρουσίαση του project στο κοινό έγινε με την μορφή ιστότοπου1 , που περιλάμβανε ως μια διαδικτυακή έκθεση, τόσο το υλικό που συγκεντρώθηκε όσο και τη διαδικασία πίσω από αυτό. Επιπλέον, δημιουργήθηκε ένα video2 παρουσίασης των μελών της ομάδας, της προσωπικής τους δουλειάς, αλλά και της συνολικής επιμελητικής ιδέας και εμπειρίας. How is an exhibition of contemporary art implemented? What is the role of an artist and what that of a curator in it? The artist and the curator coexist, create, exchange roles and construct the final result, i.e., the exhibition. Τhis thesis entitled «Flâneuse no6: The artist as curator/ the curator as artist» is an attempt to clarify these two roles as well as to see what happens when these meet in the same person. What matters the most in an exhibition today? The artwork or the process behind it? Curating has been changing over the past years and curators are becoming more active than ever within the exhibition phenomenon. Action, community work, dialogue and, interaction are but a few of the key-words that describe curating today. In this context, I created for the purposes of my MA thesis, the project «Flâneuse no6» which investigates in practice this double identity, that of the artist and that of the curator, and describes how an artist-curator can create and set up a project. The main theme is the flâneur, a wanderer of the city that first appeared in the 19th century Paris and the texts of Charles Baudelaire on wandering in the city. For this project I created a group of people, not necessarily artists, who worked together. Through dialogue and opinion exchange, the members of the group understood the main goals of the project and followed every necessary step in order to collect their material for the project and its exhibition. The presentation of the project is not restricted to this theoretical text but is also completed by a website and an online exhibition of the photographs of the group members. In it, the whole curatorial process is explained, analyzed and commented upon. Furthermore, I created a video regarding the project and its experience. 86 σ.

Paladino de uma complexa forma de subjetividade que é produto de uma atmosfera psicológica que o insulariza em relação aos demais habitantes das cidades, o flâneur é considerado como sendo uma importante chave de leitura dos processos de modernização dos centros urbanos europeus e de seus desdobramentos. Tendo isso em vista, o objetivo desta pesquisa se concentra, arrazoados os fenômenos sociais às produções literárias oitocentistas, no estudo do flâneur de Dostoiévski. Presente em Pobre Gente, Noites Brancas, A Senhoria, Humilhados e Ofendidos e Crime e Castigo, o flâneur dostoievskiano encerra em si os conflitos, contradições, perspectivas e possibilidades de um período tão peculiar que se incorporou à sua compleição por meio de uma nova e inquietante relação com a cidade moderna. Agent of a complex form of subjectivity which is the product of an overly psychological atmosphere responsible to keep him isolated from the other modern city-dwellers, the flâneur is, according to this bibliographical research, considered as an important reading key for the modernization of Europeans cities. Afterwards, succeeding the reasoning about the social nineteenth-century literary phenomenon production, the study dives into the ideal conditions to takes into account Dostoevsky’s flâneur from Poor People, White Nights, the Landlady, Humiliated and Insulted and Crime and Punishment: the most capable to cover, by himself, the conflicts, contradictions, perspectives and possibilities of a such peculiar time fixed into him as a new and disturbing relationship with the modern city.

This essay is articulated in three sections. In the first one, an analysis of Peter Bürger's critique of Benjamin'sKunstwerkschriftallows me to highlight three points, which must in my view be taken into account by any appropriate understanding of the impact of new technologies on our reception of music, and art in general. In the central (and main) section, I will make use of two Benjaminian figures that are symptomatic of the deep social changes in the European metropolis (Paris being a paradigmatic case) during the 19thcentury, namely theflâneurand thecollector, and taking these as hermeneutical tools for understanding, specifically, how the Internet has changed our way of experiencing music. The analyses carried out in Benjamin’s texts lead me to characterize Spotify, one of the main musical platforms of the web, as ahybridspace, where past and future coexist, and where the public space is populated by private collections, thereby constituting a sort of (paradoxical) virtual realization of theParisian passages, characterized by Benjamin as a space “between the street and the interior”. The final section will provide an overview of the risks and opportunities involved in using Spotify., Cet essai est articulé en trois sections. Dans la première, une analyse de la critique de Peter Bürger, envers leKunstwerkschriftde Benjamin me permet de dégager trois points essentiels pour une compréhension adéquate de l’impact des nouvelles technologies sur notre réception de la musique, et de l’art en général. Dans la partie centrale (et principale), je m’appuierai sur deux figures benjaminiennes révélatrices des changements sociaux dans les métropoles européennes (Paris faisant figure de cas paradigmatique) au cours du 19èmesiècle, à savoir leflâneuret lecollectionneur, en les utilisant comme outils herméneutiques pour la compréhension des changements apportés par Internet a notre expérience de la musique. La clé de lecture offerte par le texte de Benjamin me conduit à caractériser Spotify, à savoir l’une des principales plateformes musicales du web, comme un espacehybride, où coexistent passé et futur, et où l’espace public est peuplé de collection privées, qui constituent une sorte de (paradoxale) réalisation virtuelle despassages parisiens, définis par Benjamin comme un espace « entre la rue et l’intérieur ». La section finale donnera un aperçu des risques et des opportunités qu’implique l’usage de Spotify.&nbsp

Esta investigação aborda os termos de flâneur, deriva, caminhar, psicogeografia e lugar, não só desde a parte conceitual, como a metodológica e processual. O fazer dentro da prática artística é relevante nesta investigação e neste sentido, é analisada a experiência dos artistas Hamish Fulton, Jonas Mekas, Armelle Caron e Edward Ruscha, que mostram a quotidianidade e a experiência no lugar como desencadeante de processos artísticos. Por outro lado, e a través das obras literárias de George Perec e Miguel Ángel Herranz os lugares habituais revelam-se como fonte de inspiração. A partir de uma metodologia baseada na análise e no fazer, se desencadeiam os quatro projetos desta investigação: Linha ténue e densa, No alto da montanha, Contratempo e Entre o dia e a noite, concebidos com base na metáfora dos lugares como livros. Da mesma forma, também são mostrados os motivos que levaram a desenvolver esta investigação que se baseia no caminhar como prática artística e a importância do caderno de apontamentos no processo criativo. This research addresses the terms of flâneur, drift, walking, psychogeography and place, not only from the conceptual part, but also the methodological and procedural one. The doing within artistic practice is relevant in this research and in this sense, the experience of the artists Hamish Fulton, Jonas Mekas, Armelle Caron and Edward Ruscha is analysed, showing the quotidianity and the experience in the place as a trigger of artistic processes. On the other hand, and through the literary pieces of George Perec and Miguel Ángel Herranz, the usual places reveal themselves as a source of inspiration. From a methodology based on analysis and making, the four projects of this research are developed: Linha ténue e densa, No alto da montanha, Contratempo e Entre o dia e a noite, conceived based on the metaphor of places as books. In the same way, the reasons that led to develop this research that is based on walking as an artistic practice and the importance of the notebook in the creative process are also shown. Mestrado em Criação Artística Contemporânea

In questo saggio verr�� affrontato in chiave teorica il tema degli interstizi, cio�� degli elementi spazio-temporali che si collocano tra due mondi distinti. Il primo mondo �� quello del lavoro declinato su varie tipologie di attivit��: pu�� essere la fabbrica per gli operai, l���ufficio per gli impiegati, l���universit�� per gli studenti, ma contempla anche i luoghi della cura e della detenzione: l���ospedale, il carcere e tutte le eterotopie foucaultiane che ospitano varie tipologie di persone con diversi livelli di controllo. Il secondo mondo corrisponde alla casa in cui abitiamo: �� il mondo degli affetti privati, dell���intimit��. Sono viceversa esempi di interstizi: gli spazi e gli esercizi pubblici come cinema, teatri, musei, bar, negozi, supermercati, parrucchieri, edicole, marciapiedi di strade e piazze, parchi urbani, stazioni ferroviarie e della metropolitana, ma anche i vuoti urbani. Gli interstizi possono corrispondere a luoghi di transito o consumo, possono costituire luoghi confidenziali, ma anche dell���improvvisazione legata all���avventura, oppure possono rappresentare contesti privilegiati di resistenza ai processi di globalizzazione. �� soprattutto al fl��neur che viene data la possibilit��, oggi come ieri, di esplorarli e riflettere su di loro, interpretandoli e raccontandoli. Ma l���interstizio non �� solo una riscoperta della citt�� camminata, �� altres�� uno scavo nei luoghi privati pi�� disparati, anche quelli della detenzione, dove nascondere i nostri segreti. L���interstizio �� alla fine una ricerca su noi stessi, diviene dunque uno spaccato fondamentale per confermare o ricostruire la nostra identit��., Between, Vol 11 No 22 (2021): Enclosed spaces. Prison, asylums, seclusions

espanolLo extrano siempre ha estado presente a lo largo de la historia. Explorando los vinculos entre disciplinas como la literatura, el cine, el arte, la sociologia, etc., situamos el concepto de extraneza como estado que acontece: como suceso imprevisto, como efecto de asombro, y sus derivaciones como lo extraordinario, lo raro, lo sublime, lo extranjero, las anomalias, el azar, etc. Desde los espacios de lo maravilloso extrano, como los Gabinetes de Curiosidades, las Camaras de las Maravillas y las Fantasmagorias ligadas a los efectos especiales, nos centraremos en el extranamiento en el contexto del ambito urbano, representado por el flâneur como paseante distraido, por las derivas urbanas de los situacionistas con ciudades utopicas como New Babylon y sus cartografias experimentales y por personajes cinematograficos como Mr. Hulot, que construyen discursos poeticos sobre el extranamiento de lo cotidiano. A traves de ellos veremos como la ciudad se nos ofrece como el escenario de los acontecimientos donde se manifiesta la irrupcion de lo extrano en toda su complejidad. EnglishThe strange has always been present throughout history. Exploring the links between disciplines such as literature, cinema, art, sociology, etc. We place the concept of strangeness as a state that comes up: as an unforeseen event, as an effect of astonishment, and its derivations as the extraordinary, the rare, the sublime, the stranger, anomalies, random, etc. From strange wonder spaces, such as the Cabinets of Curiosities, Wonders Cameras and the Phantasmagorias linked to special effects, we will focus on estrangement in the context of the urban environment, represented by the flâneur as a distracted passer-by, by Situationists’ derives with utopian cities as New Babylon and their experimental cartographies and by cinematographic characters such Mr. Hulot, who construct poetic discourses on the estrangement of the everyday. Through them we will see how the city offers itself to us as the scene of events where the irruption of the strange in all its complexity is manifested.

Examinamos los aportes de Béla Tarr a la estética visual contemporánea mediante un artículo de reflexión. Para ello, desbrozamos su filmografía, de la que se desprende una primacía del dispositivo visual en la construcción de su discurso creativo. Postulamos que, con el único recurso de su cámara, el cineasta húngaro es capaz de generar una pluralidad de temporalidades de cuyo conflicto surge el drama. Así, con sus largos planos secuencia destruye los límites escénicos, exponiéndonos a la duración de la que están fabricados los personajes y las acciones. Hallamos una organización rítmica de la imagen, jalonada por una peculiar impostación lumínica, de la que emerge su condición táctil, la cual predispone al espectador a operar sobre las imágenes de forma distraída y, a la vez, analítica. Si lo fundamental de su cine es restituir a la temporalidad su carácter transitorio, concluimos con una reflexión sobre la ética de la nimiedad, desde la que podemos sentir nuestra humanidad en el contorno efímero del instante. A partir de ahí, nace un nuevo modo de conocimiento basado en la confrontación con nuestros mitos que nos impiden atisbar la pequeñez de nuestra condición. We examine the contributions of the Hungarian filmmaker Béla Tarr to contemporary visual aesthetics. To do this, with textual analysis, we unraveled his filmography, from which emerges a primacy of the visual device in the construction of his creative discourse. We postulate that with the only resource of his camera is able to generate a plurality of temporalities whose conflict emerges the drama. Thus, with its long sequence shots it destroys the scenic limits, exposing us to the duration of which the characters and actions are made. We find a rhythmic organization of the image, marked by a peculiar luminous imposition, from which emerges its tactile condition, which predisposes the viewer to operate on images in a distracted and, at the same time, analytical way. If the essence of his cinema is to restore temporality to its transitory nature, we conclude with a reflection on the ethics of trifling, from which we can feel our humanity from the ephemeral outline of the moment. From there, a new mode of knowledge emerges based on the confrontation with our myths that prevent us from glimpsing the smallness of our condition.

Early city films undermined the association of the city with social and technological progress by showing what Siegfried Kracauer termed ‘a hidden modernity’ – a spatial mapping of social/ideological structures and values that provided a critique of modernity precisely though focusing on its ‘surface’ aspects. Drawing on Michel de Certeau’s notion of ‘pedestrian speech acts’ this essay explores the ways in which Fellini’s LA DOLCE VITA (1960) and Sorrentino’s homage LA GRANDE BELLEZZA (2013) – both of which paint a picture of a decadent society, the consumer society emerging in Italy during the postwar economic boom, and a morally decadent neoliberal Italy – ‘narrate’ the Eternal City through their flâneur protagonists, in order to illuminate the two filmmakers’ different critical engagement with history and with Rome’s ‘decadence’.emporary interdisciplinary methodologies in the humanities, from.

Conversazioni con fotografie nel Mercado Central e nella Avenida Paulista di San Paolo; descrizioni, pensieri e riflessioni sulla fotografia e sull’immagine digitale. Conversazioni con fotografie nel Mercado Central e nella Avenida Paulista di San Paolo; descrizioni, pensieri e riflessioni sulla fotografia e sull’immagine digitale. Diálogos fotográficos nos contextos do Mercado Central e da Avenida Paulista, em São Paulo; relatos e reflexões acerca da fotografia e da imagem digital.

Рукопись поступила в редакцию: 11.09.2021. Принята к публикации: 8.11.2021. Received: 11.09.2021. Accepted: 8.11.2021. В статье сопоставляются различные концептуализации того игравшего важнейшую роль в европейской социокультурной реальности XVIII–XX столетий явления общественной жизни, которое, начиная с конца века Просвещения, наполнило новыми смыслами словá «толпа» и «людская масса». В тексте не выделяются отдельные параграфы, однако условно он делится на две примерно равные части. В первой части, привлекая в качестве дополнительного источника, помогающего лучше понять основной предмет, ту главу работы В. Беньямина «Бодлер», которая называется «Фланер», автор на примере рассказа Э. По «Человек толпы» и некоторых критических статей Ш. Бодлера и О. де Бальзака рассматривает рефлексию по поводу феномена толпы в художественной литературе и критике первой половины XIX в. Устанавливается, что уже в этот период «толпа» как определенный феномен реальности получает, можно сказать, противоположные ценностные характеристики. С одной стороны, образы толпы выражают безжизненно-зловещую буржуазную меркантильность, с другой стороны — динамичный, разрушающий любую привычность возвышенный «дух современности», предстающий как явление рождения нового индустриального мира, мира мегаполисов. Эти ранние варианты осмысления «толпы» в художественных произведениях и критике получают продолжение в философско-культурных и социально-психологических концептуализациях конца позапрошлого века. Понятие «человек массы» в «Воле к власти» Ф. Ницше и понятие «человек толпы» в социальной психологии Г. Лебона и Г. Тарда на первый взгляд кажутся почти тождественными. Однако анализ этих понятий показывает, что вписаны они создавшими их авторами в совершенно разные контексты, выражающие опять же противоположные, полярные оценки современности. Об этом различии, в первую очередь, свидетельствуют понятия-антиподы «человека массы» и «человека толпы», каковыми являются, соответственно, «сверхчеловек» и «публика». The article compares various conceptualizations of what played an essential role in the European socio-cultural reality of the 18th — 20th centuries, the phenomenon of public life, which, since the end of the Enlightenment, has filled the words “crowd” and “mass of people” with new meanings. The text does not highlight separate paragraphs. However, it consists of two approximately equal parts. In the first part, the author draws on the chapter of V. Benjamin’s work “Baudelaire” called “Flâneur” as an additional source that helps better understand the main subject. Further, on the example of E. Poe “The Man of the Crowd” and O. de Balzac, he examines refl ection on the phenomenon of the crowd in fiction and criticism of the first half of the 19th century. In this period, the “crowd” as a particular phenomenon of reality acquires opposite value characteristics. On the one hand, the images of the crowd express a lifeless, sinister bourgeois commercialism. On the other, they depict a dynamic, sublime “spirit of modernity” that destroys any habituality, appearing as a phenomenon of the birth of a new industrial world, the world of megacities. The philosophical-cultural and sociopsychological conceptualizations of the end of the century before last follow these early versions of understanding the “crowd” in fiction and criticism. At first glance, the concept of “mass man” in F. Nietzsche’s “Will to Power” and the concept of “crowd man” in the social psychology of G. Le Bon and G. Tarde seem to be almost identical. However, an analysis of these concepts shows that their authorscreators inscribed them in absolutely different contexts, again expressing polar assessments of modernity. The concepts-antipodes of “man of the mass” and “man of the crowd”, which are, respectively, “superman” and “public” testify to this difference in the first place.

O objetivo desta dissertação é estudar o tipo flâneur e sua implicação como mônada do constructo Modernidade, a partir da ensaística de Walter Benjamin sobre a Paris do século XIX. A partir de um posicionamento do flâneur como figura histórica, literária, filosófica e política, no contexto metropolitano europeu, o presente trabalho utiliza-se da obra Pornopopéia (2009), de Reinaldo Moraes, para trabalhar as extensões na Modernidade no século XXI. Defende-se que o flâneur, personagem da crise do capital, resiste ao choque urbano em outros tempos e geografias, extrapolando seu contemporâneo para assumir a identidade, aqui classificada como pornoflâneur. Pelo teor erótico/pornográfico identificado em Pornopopéia e pelas extrapolações epistemológicas de ambos os conceitos relativos à sexualidade, busca-se também problematizar a legitimidade da expressão do corpo na Literatura em tempos de virtualização das relações sociais no século XXI. The aim of this master thesis is to study the flâneur type and its implication as a monad of the Modernity construct, based on Walter Benjamin's essay on Paris in the XIX. Developed on the position of the flâneur as a historical, literary, philosophical and political figure in the European metropolitan context, the present study operates the Brazilian book Pornopopéia (2009), by Reinaldo Moraes, to work on extensions of Modernity in the 21st century. It is argued that the flâneur, character of the capital crisis, resists to urban shock in other times and geographies, extrapolating his contemporary to assume another identity, here classified as Pornoflâneur. Due to the erotic / pornographic content identified in Pornopopéia, and the epistemological extrapolations of both concepts related to sexuality, what is also needed here is to problematize the legitimacy of body expression in Literature in times of virtualization of social relations in the 21st century.

Many current paradigms of world literature, aligned to world-systems theory or Casanova’s “world republic of letters,” assume a diffusionist model of literature that situates the origins of literary modernity in the West. This model has found particular favour in the privileged case of the novel, but how do things stand with other genres? This essay examines the physiology, a popular quasi-journalistic genre dedicated to the taxonomic description of mores, customs and social types. Popularly associated with the figure of the urban flaneur and subsequently critiqued by Walter Benjamin, the physiology peaked under the July Monarchy in France and gained unprecedented success in Russian letters where it served to generate the basis of a non-bourgeois public sphere, after which it was also adapted to the circumstances of Russia’s own imperial borderlands. This paper outlines the essential contours of the physiology as it arose in France, in terms of its internal poetics as well as its social currency, and compare its French life with its Russian metropolitan counterpart, where it was transformed from a paraliterary genre to one that would occupy the centre of the Russian literary life in the transition from romanticism to realism. Its subsequent life in the Caucasus region reveals the rise of a colonial urban aesthetics of the picturesque. Does this story confirm or confound the diffusionist model? The essay’s external trajectory confirms the European origins of the genre and its subsequent circulation throughout the Russian empire, from metropole to periphery. A discussion of genre, however, requires more than an account of its its immanent structural features or its subordination to a singular external socio-spatial logic. The social life of circulating genres points to their divergent role in different literary systems, and to the distinct formal and ideological solutions they propose within regional or local contexts. It would appear, then, that the diffusionist model is pertinent to the movement of some hegemonic genres in the modern era, but that the centre/periphery model needs to be complemented by greater attention to the trans/regional and the local as defining levels of geographic scale in the realm of cultural production. Only a trans-scalar analysis, moving between multiple spatial levels, allows us to honour what humanists celebrate as cultural specificity without sacrificing the global perspective offered by world-systems theory.

Uno de los nombres que le di a mi gusto por escribir acerca de algunas cosas de la vida en las ciudades -con las que me encuentro paseando, en los diarios o desde el balcón- es “El flâneur en la ranura”. Como quien mira por la ranura de una ventana, en la luz que queda entre los paños de las cortinas, en un bus, un espejo retrovisor, una ventanilla de avión, un auto de alquiler o tras las gafas de sol. Flâneur es una palabra que vino a mí de la mano de un joven artista que me instruyó acerca de dos personajes de las ciudades: el Dandy y el flâneur, y esta nombró -tiempos después- algunas de mis escrituras azarosas, que calman algo que me inquieta o me sorprende. Una suerte de postales de escrituras. Desde ese encuentro me ha entretenido, también, detectar dandies y flâneurs, Cátedra Libre Jacques Lacan